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Books on the topic 'Transmedia Literacy'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 June 2025

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1

Andrés, Sepúlveda Cardona Edwin. Transmedia literacy e intertextualidad. Fundación Universitaria Luis Amigó, 2016.

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2

Hovious, Amanda S. Transmedia storytelling: The librarian's guide. Libraries Unlimited, an imprint of ABC-CLIO, LLC, 2016.

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3

Chobanov, Georgi, ред. Books and reading in audiovisual transmedia: Film Database for empirical book science: Книги и четене в аудиовизуална трансмедийност: Филмова база данни за емпиричното книгознание. LiterNet, 2018.

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4

Elleström, Lars. Transmedial Narration: Narratives and Stories in Different Media. Springer Nature, 2019.

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5

Transmedia Applications in Literacy Fields. IGI Global, 2024.

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6

Transmedia Applications in Literacy Fields. IGI Global, 2024.

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7

Transmedia Applications in Literacy Fields. IGI Global, 2024.

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8

Transmedia Applications in Literacy Fields. IGI Global, 2024.

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9

Transmedia Applications in Literacy Fields. IGI Global, 2024.

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10

Hovious, Amanda S. Transmedia Storytelling. ABC-CLIO, LLC, 2015. http://dx.doi.org/10.5040/9798216027270.

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This practical and thorough guide offers clear explanations of what transmedia storytelling is and shows how it can be integrated into library programming that fosters multimodal literacy with K–12 learners. When fictional worlds are brought to life in multiple media—via books and comics or through films, animated shorts, television, audio recordings, and games—it is called "transmedia storytelling." Transmedia storytelling offers children's and teen librarians at public libraries, K–12 school librarians, and educators an effective method for bringing story to youth—a perfect fit for today's media-saturated environment. This book demonstrates how to create new pathways to the future of stories and storytelling. The book serves as a guide to integrating transmedia storytelling into library programs and services. It defines transmedia storytelling, identifies the key connections between it and 21st-century learning, discusses the role of librarians and libraries in supporting and promoting transmedia storytelling, and provides concrete examples of transmedia programs. The suggested programs—ranging from transmedia storytimes for early literacy learners to maker programs for young adults—can be implemented with different levels of technology capabilities and within numerous library settings. In addition, the book offers practical advice on technology planning for libraries that plan to incorporate transmedia storytelling.

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11

Michelis, Lidia De, Anna Enrichetta Soccio, Francesca Saggini, Eleanor Beal, and Gino Roncaglia. Transmedia Creatures: Frankenstein's Afterlives. Bucknell University Press, 2018.

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12

Soccio, Anna Enrichetta, Francesca Saggini, Claire Nally, Eleanor Beal, and Gino Roncaglia. Transmedia Creatures: Frankenstein's Afterlives. Bucknell University Press, 2018.

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13

Transmedia Creatures: Frankenstein's Afterlives. Bucknell University Press, 2018.

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14

Schütte, Uwe, ed. German Pop Music in Literary and Transmedial Perspectives. Peter Lang UK, 2021. http://dx.doi.org/10.3726/b16291.

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15

Schütte, Uwe. German Pop Music in Literary and Transmedial Perspectives. Lang AG International Academic Publishers, Peter, 2021.

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16

Schütte, Uwe. German Pop Music in Literary and Transmedial Perspectives. Lang AG International Academic Publishers, Peter, 2021.

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17

Schütte, Uwe. German Pop Music in Literary and Transmedial Perspectives. Lang AG International Academic Publishers, Peter, 2021.

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18

Schütte, Uwe. German Pop Music in Literary and Transmedial Perspectives. Lang AG International Academic Publishers, Peter, 2021.

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19

Ritzer, Ivo, and Peter W. Schulze. Transmediale Genre-Passagen: Interdisziplinäre Perspektiven. Springer Vieweg. in Springer Fachmedien Wiesbaden GmbH, 2015.

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20

Ritzer, Ivo, and Peter W. Schulze. Transmediale Genre-Passagen: Interdisziplinäre Perspektiven. Springer VS, 2015.

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21

Elleström, Lars. Transmedial Narration: Narratives and Stories in Different Media. Springer International Publishing AG, 2018.

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22

Comics for film, games, and animation: Using comics to construct your transmedia storyworld. Focal Press, 2012.

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23

Clüver, Claus. Ekphrasis and Adaptation. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.26.

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In discussing word-and-image interactions, ekphrasis and adaptation are frequently cited as major instances of intermedial transposition. Ekphrasis, redefined as “the verbal representation of real or fictive configurations composed in a non-kinetic visual medium,” can occur in literary and non-literary texts and represent two- and three-dimensional images. Some ekphrastic texts can be read as fully developed intermedial translations; others may render readers’ encounters with visual images that the text does not actually transpose at all. Ekphrasis is a descriptive monomedial mode of intermedial reference. In contrast, adaptations incorporate transmedial elements of the source texts transposed into a new medium. Verbal texts are most frequently adapted to plurimedial media, but also to such mixed-media forms as the comic book. Novelizations of films or videogames exemplify adaptation to the verbal medium. More common is the adaptation to literary texts of structural devices employed in other media, as in the musicalization of fiction.

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24

Goswami, Anuradha, Chandrima Karmakar, Ramakrishnan E. V., et al. Contextualising Migration: Perspectives from Literature, Culture and Translation. Central Institute of Indian Languages, Mysuru, 2022. http://dx.doi.org/10.46623/tt/2022.si2.

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Conceptualised at the conference organised in January 2020 titled “Contextualising Migration: Perspectives from Literature, Culture and Translation” by the School of Humanities and Social Sciences at GITAM, Hyderabad in collaboration with CIIL, the present volume aims to engage the emergent tendencies within the long histories of migration motivated by a renewed understanding of translated ideas and identities in the present order of world affairs. The volume also aims to trace the literary metamorphosis under the influence of the emerging transnational, transmedial world of literary exchange that has documented the complex negotiation of loss and recovery and methods of searching for one’s identity on one hand and on the other, made literature increasingly difficult to be tied down to one nation, one language. Consequently, the volume is divided into three interconnected sections. The first two sections are dedicated to account for the challenges thrown by the latest discourse and dynamics of migration and to document the theoretical as well as literary responses provided to such developments. These sections also attempt to bring out the significant role of translation in the life of immigrant communities. The final section is designed to substantiate the understanding of the emerging fictional and non-fictional worlds further by looking comparatively into the recent literary output coming from the diaspora and discussing its shifts and extensions with respect to the early writings.

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25

Kelly, Alice M. Decolonising the Conrad Canon. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856462.001.0001.

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In the context of decolonisation movements across Higher Education in the UK and around the world, this book shows that decolonial, queer, feminist readings are possible in even the deepest corners of the colonial literary canon. Decolonising the Conrad Canon turns to Joseph Conrad’s lesser-known works in search of textual breathing spaces, in which female characters of colour speak, think, gaze, and yearn, and follows them off the page into their transmedia afterlives. Through this intervention, the book challenges the ubiquitous recirculation of white male voices as uniquely endowed to speak the history of Empire and turns instead to the many powerful indigenous women that live forgotten in the Conrad archive and the myriad adaptations housed within it. Presenting Immada and Edith’s queer desires in The Rescue and its periodical illustrations, Aïssa’s anti-colonial resistance in An Outcast of the Islands and her characterisation on its pulp book covers, the feminist relationships of Almayer’s Folly and Nina Almayer’s embodiment in Chantal Akerman’s adaptation La Folie Almayer, this book argues that Conrad’s female characters of colour deserve to be read as viable, meaning-making protagonists who matter. Decolonising the Conrad Canon interrogates race, gender, and character status in literary scholarship to propose alternative methods for teaching, reading, and studying not just Joseph Conrad but all those seemingly immovable author-Gods like him.

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26

Teo, Tze-Yin. If Babel Had a Form. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500184.001.0001.

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In twentieth-century intersections of China and Asia with the United States, translations did more than communicate meaning across politicized and racializing differences of language and nation. Instead, transpacific translation breached the regulative protocols that created those very differences of cultural value and meaning. The result saw translators cleaving to the sounds and shapes of poetry to imagine a translingual “likeness of form” but not of meaning or kind. At stake in this form without meaning is a new task of equivalence. As a concept, equivalence has been rejected for its colonizing epistemology of value, naming a broken promise of translation and false premise of comparison. Yet in veering from those very ways of knowing, the writers studied in this book theorized a poetic equivalence, negating the colonial foundations of the concept to discover the power of translation in surprising places. Igniting aporias of meaning into flashpoints for a radical literary translation, the book’s immanent readings narrate accounts of poetic equivalence across the iconoclastic poetics of American modernist Ernest Fenollosa, the vernacular experiments of Republican-era China’s central reformer Hu Shih, the trilingual musings of modern Chinese writer and Los Angeles expatriate Eileen Chang, the unfinished work of the Asian American transmedial artist Theresa Cha, and a post-Tiananmen elegy by the contemporary Chinese poet Yang Lian. The conclusion returns to the deconstructive genealogy of recent debates on translation and untranslatability, displacing the convention of radical alterity for a no less radical equivalence.

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27

Hermansson, Casie. Filming the Children's Book. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474413565.001.0001.

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Children’s metafictions have their roots in literacy pedagogy and entertainment, and remain enormously popular both with authors, readers, and teachers. But they pose a number of unique challenges to screen adaptation. While – arguably – audiences of children’s adaptations prefer that the adaptation adhere to the source as closely as possible, in the case of metafiction its defining ‘meta’ element does not directly transmediate. Yet a more direct filmic equivalence for metafiction – metafilm – reflects filmicity rather than bookishness. This book studies first what children’s metafiction purports to be and to do for the youth reader (infants to young adults). The second chapter examines the distinctive challenges in adapting children’s metafiction to film. The third chapter presents a number of children’s films, adaptations and not, featuring ‘bookish’ themes, characters, settings, and symbols, and develops a ‘film grammar’ for how these are traditionally depicted. The fourth chapter discusses children’s metafilm and draws from a selection of these films. The final, fifth, chapter presents a sub-type of children’s metafilm adaptations which ‘break the fifth wall’ by reflexively focusing not on a single medium (literature or film) but rather on the adaptation processes themselves. These adaptations are meta-adaptations. The book contains over fifty film stills and a glossary of terms. It discusses works like Inkheart, The Invention of Hugo Cabret, The Spiderwick Chronicles, and the Harry Potter series and the Series of Unfortunate Events. It is grounded in and contributes to contemporary adaptation criticism and theory.

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